Wednesday, 29 October 2014

This is some spaced out shit, I'm talking full on UFO vibes here. This EP is some true weirdo noise rock that sounds as if it stepped out of a bad scifi movie where you can see the strings on the cardboard space ship and the aliens wear tin foil suits.

The band describes themselves as "dudes from San Francisco and Santa Rosa getting drunk and doing drugs, and then also writing riffs and playing shows." That's definitely what it sounds like; Culture Abuse really gives off a no fucks given attitude and that apathy fuels their deranged sonic bursts. I shouldn't really have to say anything more, honestly you should've been sold when I said "UFO."

Weeping, Kneeling's 'Blood of Ritual' accurately sounds just like one of their track names- the auditory equivalent of Visual Snow. The album cover gives a good summary of what you're in for on this one; pale, grey, and desolate soundscapes accompanied by the glacially slow and distorted wailing of what sounds like it could anything from horn to string instruments with the atmosphere of the album being so thick. I particularly recommend Blood of Ritual if you're a fan of Sunn and Ulver's 'Terrestrials' because it reminds me of it a fair bit- not to the point where I would say anything like Weeping, Kneeling simply copied what they were doing, but if you can vaguely imagine what Terrestrials would sound like if it was a lot more noise-oriented and flatter in terms of tonal range; it still has range, but being drone, it just takes a lot longer to get there and through it.

Continuing with my series on our Novocastrian artists in "Fucked By Newcastle," when it comes to home brewed noise, Crab Smasher are perhaps one of the most fascinating acts to ever come out of the Steel City. I only have a small grasp of their history but I'll try to explain it as best I can. Crab Smasher started as a duo in 2002, with Grant Hunter (Polyfox And The Union Of Most Ghosts, Anal Discharge) and Nicholas French (Polyfox…, Obat Batuk, The Farting Arses).Although guest artists would frequently appear on their releases, it was the album Serie Un Di Collaborazione that would cement Crab Smasher as the musical collective of Nicholas and Grant, with a revolving door of many different artists joining – including Nick Senger (Castings), Sarah Humphreys, Chris Hearn (Alps), Mike Foxall (Nancy Vandal), James Kritzler (Slug Guts, White Hex), Nathan N. Martin (Anal Discharge, Sweet Teeth, HANNAHBAND, Burlap) and a lot more. In around 2008, Marnie Vaughan (Sweet Teeth, HANNAHBAND), who had already appeared on a few Crab Smasher recordings – was starting to appear on all their subsequent recordings, thus making Crab Smasher a trio. Twelve years on, they are still making music to this day, with their most recent piece, Scum Puzzle, released this year in May.So, what kind of music do they make? Well, anything and everything, really. Their musical journeys know no boundaries; almost every single release is completely different from the last and are usually always improvised. Take Scum Puzzle for example – an electronic and mostly instrumental album completely driven by coarse and abstract bit-crushed synths gone mad and erratic drumming, with a relatable pop rhythm that falls in tandem of a listenable and uncomfortable experience – but go back one album, to Earth Buddies, and we have a live radio session of the first ever "carbon neutral noise band" which has all the members switch out their synths and drums to get their crazy hands on thumb keyboards, glockenspiels, recorders, percussion, acoustic guitars, zither, battery powered toys and just about anything that isn't connected to a power outlet, creating an aurally destructive but environmentally friendly symphony.They go from the avant-garde noise pop of the Blue Album to dreamy ambient post rock on The Doctor Is In…Over His Head. Most of their earlier releases are more focused on noise soundscapes like Todd McFarlane Crushes The Tyranny Of Corporate America. Sometimes a single release can have styles and genres all over the shop like Thick Mosquito Sky and Bones Are Stronger Than Concrete.If I had to choose a favourite release however, it would easily be Impossible Monsters, which is probably because it was my first foray into discovering Crab Smasher (I forgot how), and at a time when I was forsaking a lot of mainstream music and was hungry for something different, this release came along and really left a big impression on me. I haven't heard many albums that can transcend from rumbling drones and short bursts of static attacks crashing in through some extremely harsh noise, before doing a reverse on the mood and presenting the listener with a manic, thick layered and melodically adventurous theme song for some non-existent cartoon. Impossible Monsters continues to flip moods again, to dark and eerie lounge music, and eventually ambient noise flowing from the melancholic to the euphoric. The last song is what makes the entire album for me, as it serves to be a final, cathartic point of how far they can strip down the layers, until we have a minute long song of lone keyboards and bit-crushed drums with the only vocals on the entire release. It makes for an oddly emotional experience as the band bends the rules of consistency to make their own. Some other notable releases for me include DOOM+DOOM=OMG, Serie Un Collaborazione and Forever!.You can get their entire discography from their bandcamp, with everything free to download. I won't provide a track listing because there are too many releases to put up. As for where to start, well I reckon you should explore for yourself, but otherwise you can go back over the review and try out the albums I mentioned.

The Wandering Midget are one of the many Finnish doom metal bands that follow in the steps of the great Reverend Bizarre, carrying on the traditions of silky-smooth, operatic vocals paired with not so much emphasis on heaviness a la Conan, but catchy riffs soaked in Sabbathian convention. I think that's the main difference between Reverend Bizarre and the Wandering Midget actually- while any doom fan can tell you that everything in the genre goes back to Sabbath, The Wandering Midget is a nice blend of the elements of Reverend Bizarre which they so clearly worship, as well as a flair for Black Sabbbath's more mellow songs like 'Solitude' and 'Planet Caravan'. And while it never actually gets into full-blown hippy-esque tones like those songs do, its pretty easy to see the inspiration- especially on tracks like 'She-Wolf' which I highly recommend. The songs are usually pretty damn long, but any fans of Reverend Bizarre should have no problem with this. I'd be extremely interested to find out what the inspiration for their name was as well... some sort of strange play on "the wandering Jew" myth I imagine, anyone with further info on it feel free to let me know in the comments, in the meantime though crank up the volume and sit back to some killer doom.

Friday, 24 October 2014

Meth Drinker are a bunch of downtrodden, miserable fucks hailing from Wellington, New Zealand who've been sharing their particular brand of musical nihilism since 2010.
While not at all dissimilar with sludge's other hopeless and bleak stalwarts (see list of above), Meth Drinker's output is much rawer, heavier and confronting than the aforementioned artists. Even Eyehategod, who turned sludge into the primary form of conveying one's agony musically in a post blues world have a bit to learn from these guys. Essentially Meth Drinker have worn their influences on their collective sleeves and taken them to a much darker, primal place.
Communicated through pounding doom riffs strung together by fuzzed out bass and throaty screamed vocals, Meth Drinker's music is a tour through the syringe ridden gutters of a world consumed by drugs, violence and mental illness. There's no reprieve, just crushing heaviness and bitter negativity.
Here you'll find all of Meth Drinker's current releases - an EP, two splits and their full length. I should also note that they've got a brand spankin' new LP due out next month, which I may or may not post here (hush hush). For now content yourself with these releases and prepare to enter a severely malnourished world of strung out, drug fucked sludge bliss.

Tuesday, 21 October 2014

Toronto has been building up a bit of a reputation in recent years as a hotspot for noise-punk of varying extremities. On the far spectrum of things you've got raw punk oriented Absolut, and other bands such as the Soupcans as well. Thighs are not as hard and heavy as Abosult but are more easily to a split between the Soupcans, Witchface, and the Strokes into some strange hybrid. Based around quick, frantic riffs, drumming, and Masonna-esque vocals, Thighs is an earlier example from the greatness of Toronto's noise punk scene steeping in an aura of alienation and anxiety, Thighs' music is a clangy, dysfunctional trek through classically inspired punk tracks.

It's always weird to think I knew about industrial/noise artists in high school before I was even into noise. Anonymous was one of those artists. I first heard them on Alternative Tentacles's "Let Them Eat Jellybeans!" compilation LP which was released in 1981 to expose people around the world to what they called "America's darker side," which according to the LP's jacket, was not as well known outside of North America. The A-side of the compilation features American 80s hardcore punk staples such as Flipper, Bad Brains, Feederz, Really Red, Dead Kennedys, and a handful of others; but the B-side is where things got weird (although I guess it was pretty weird from the start since Flipper is the opening band). On the B-side of this compilation, the unsuspecting punk is assaulted by noise, industrial, avant-garde, and experimental artists, the most notable being Half Japanese, Geza X, and Anonymous.

And that brings us to this release. This is a very good sample of early industrial and electronic noise. The two songs, however, differ greatly from each other. While the first is an amalgamation of samples, electronic noise, and synth which feels very much like the The Residents and Throbbing Gristle, the second is much more in the vein of Geza X and Outer Circle (who didn't release their LP until two years after this), in that it leans more towards bizarre art punk which has been heavily influenced by the emerging industrial, no-wave, and noise scenes.

Of course, this isn't nearly as intense as what would come later from industrial/noise artists such as Deathpile and Maconympha, but as previously stated, it's definitely representative of some of the early forays into industrial/noise music.

Friday, 17 October 2014

Do you see the album cover? That's what this sounds like. It's absolute brutality and not in a slam death metal nerd sense, but in the sense that this album is relentless, ruthless, and heavy.

It's weird to describe electronic noise as heavy, but this album really feels as if it's weighing down on you and pummeling you with an inhuman force. There is also a mix of the erratic and droning which seem to alternate back and forth over the course of the album in a way that feels incredibly natural. My favorite track on the album (and one of my favorite industrial tracks in general), "La Petite Fille Au Bout Du Chemin," sways back and forth from walls of harsh, screeching noise to an (almost) relaxing pulse.

The buried vocals, along with the use of samples, make this release even more eerie. I want to liken it to watching a horror film, but with the soundtrack turned way up and the dialogue turned way down. You can only faintly hear the screams of pain and cries for help over the deafening noise assaulting your senses.

Wednesday, 15 October 2014

Yes, it's Big Zit, that band with the singer who sounds uncannily like H.R. from Bad Brains. They floored me with their 2013 demo and it's good to see that they, unlike other bands who disappointed me this year, made it to the 7" stage without losing any of their energy.

This EP is a total ripper. It's unpredictable, weird, and short. The five songs clock in at 4:26, giving just enough but leaving you wanting more. It seems to have come out under the radar, I haven't heard anybody talk about it yet which surprises me considering the amount of attention Big Zit has been getting lately.

It's weird how Big Zit clearly wear their influences on their sleeves, but at the same time manage to sound totally refreshing. Okay, I'm done talking, I should be doing research but instead I left the library early so I could post this because I'm excited about it. Just download it and listen for yourself.

You know what I really hate? Depressive Suicidal Black Metal albums that throw together a handful of 10-20 minute songs that all sound pretty much the same and try to pretend that Xasthur and Leviathan don't already exist. However this isn't something I found when listening to Plague Seed by Grst, who are a three-piece band with members from Austin, Texas and Eugene, Oregon. Most of the tracks are a bit lengthy (the longest being about 16 minutes) but as all sprawling DSBM greats have done, Grst manage to keep things interesting by having a clear vision of where each track is going- they're well thought out in all aspects, extremely well done, and a welcome addition to the realm of experimental black metal. Some of the old cues for a DSBM group are there, such as the tracks being described by the band themselves as "Four meditations on ruin and rage", but without all the evil-er-than-thou cheese that characterizes DSBM and Black Metal as a genre. Overall Plague Seed is DSBM done sensibly, efficiently, and with a lot of talent.

Monday, 13 October 2014

If you've been paying attention to the contemporary hardcore punk scene, you've probably heard of NASA Space Universe (or NSU as I'll refer to them for the rest of this post). I first heard them described as a Die Kreuzen knock off which made me feel disappointed as I hate bands who are cheap imitations; but it also intrigued me because I thought there was no way somebody could even come close to touching Die Kreuzen, who are, let's face it, one of the greatest hardcore punk bands of all time.

I'm going to come out and say that this evaluation of NSU as being a Die Kreuzen clone couldn't be farther from the truth. While the screeching vocals and high speed, off kilter instrumentation can be likened to Die Kreuzen's eponymous 1984 LP, NSU is much more. They have made their own, strange breed of hardcore punk that, while giving many nods to the contributions of seminal bands such as Koro and Articles Of Faith, is still very forward thinking.

Combining spaced out, noisy riffs with influence from some of the weirder classics has yielded some of the most refreshing hardcore punk you'll hear this year. And don't forget the monologue which appears in the closing track recounting a sexual encounter with an alien priestess. This is probably NSU's most focused and ferocious release to date. I was lucky enough to see them do a midnight show under a bridge while on tour with OFF! (who I was not going to go support for various reasons and who did not play the midnight bridge show) and they (being NSU not OFF!) were phenomenal; I was totally floored. Do not sleep on this band.

A friend of mine turned me onto this band by asking if I knew anything about them, to which I had to admit that I didn't. Neither of us could really find anything about them or even much of their music (I believe only 2 songs are on youtube), so Thug remained a mystery for a little while.

Fast forward a year or two, I finally tracked down (most of) their discography and I definitely want to share it with people because this band is not just highly underrated, but they're exceptionally good and deserve much more attention than they seem to get. They started in '92 or '93 and released only three 7"s, two of which were splits, along with a few songs on compilations which I still need to get my hands on. Their sound is pretty hard to pigeonhole, they mostly combine elements of noise rock similar to bands such as Unsane and Drunks With Guns, and sludge akin to that of Eyehategod and Cavity; although on their final 7" they come dangerously close to powerviolence in the vein of Neanderthal and Peter Mangalore.

So, what should you expect from Thug? Brace yourself for disgusting tones and crushing riffs, feedback, pounding drums, and totally pissed off vocals. Oh, and they did a split with powerviolence legends Apartment 213, who also appear on the Loud & Ugly Vol. 2 compilation along with Floor, Despise You, and Eyehategod. This shit is good and if you like any of the bands I've compared them to or with whom they appeared alongside, I highly recommend checking this out.

Releases:

Thug (1993)

Apartment 213 / Thug (1995)

Loud & Ugly Vol. 2 (1995)

Thug / Greenmachine (1997)

Missing compilations are:

Loud N' Ugly Vol. 1 (1993)

Start A Riot (1995)

The Good, The Bad, And The Ugly (1998) which I have but didn't include because the Thug track is the same one which appears on Loud & Ugly Vol. 2

Russia's
Montségur are a bit of an enigma when it comes to info on their
background, other than that they're from and presumably based there as well.
They're coincidentally one of the bands so far signed to Legion Blotan
Records & Distribution, which is the same label that White Medal is
signed to. I trusted the label to have pretty decent taste because of
White Medal, and decided to take a look at some of their other releases and I've liked what I've been hearing so far- Montségur in particular. Named after "a commune in southwestern France famous for its fortification, the Château de Montségur, that was
built on the ruins of one of the last strongholds of the Cathars" according to Wikipedia, Montségur do a great job of either shredding, droning, or moaning their way to black metal success. The album tackles not just black metal, but a few other stylistic variances are thrown in as well, like aspects of depressive suicidal black metal in particular. It's not a terribly long album, but it's very well put together, beginning with a intro of synths and drums softly passing, before quickly transitioning into a good three tracks and finishing off with an eerie synth track that carries the album off really well. Definitely recommended for fans of Les Legions Noires.

Tracklisting:
1. The Way to the Land of Desperation
2. Dark Spell over the Twilight Hills
3. Worshipers of Forbidden Knowledge
4. Under the Banner of Witchcraft
5. Forgotten Ruins

Let me start off by saying that I absolutely worship all Midnight, so objectivity is gonna be a hard thing for me to stick to in this particular review. I would've done a discography post but seeing as they have a perfectly good bandcamp page via their label, Hell's Headbangers, you can go check their other stuff out there. Farewell to Hell however isn't something that I found included on Hell's Headbangers roster of Midnight throughout their bandcamp profile, so I figured I'd throw it up myself for anyone interested. If you're unfamiliar with Midnight then basically imagine everything that you love about 80s thrash mixed the best aspects of Venom and Speedwolf all bound together into one huge, sleazy, guitar-shredding monster. Farewell to Hell is also noticeably more lo-fi than their main releases like Satanic Royalty and No Mercy For Mayhem, it's interesting to see this side of Midnight, and it suits the overall tone that I imagine Jamie Walters, er, sorry- Athenar, was going for extremely well. Midnight can and have pretty much done no wrong as far as I can tell, so if this is the first time you're seeing them mentioned anywhere, then jump on the download link below asap.

With Toxic Holocaust currently on their first ever tour of Latin America I've been listening to this a lot lately and pining for them to play in Canada, more preferably Ottawa in particular. "Only Deaf Is Real" is, as you've undoubtedly figured out by now, is a live album, from their "Evil Never Dies" era when it was still only Joel Grind playing with a supporting band, and recording everything himself- before Nick Bellmore and Phil Zeller joined the band. The performance was apparently recorded in 2003 and wasn't released until later, and I'm certainly glad it was- it's a pretty good live recording, considering I'm not always crazy about live albums anyways. No however, Only Deaf Is Real is one of the good ones in my opinion, the songs are even faster than their studio versions (which is pretty damn fast considering how fast they already are) and I just really enjoyed the overall rawness of it. Also included on the album are three Sodom cover tracks (with Joel appropriately wearing a Sodom shirt on the cover) which are great as well- I'm a complete fiend for Toxic Holocaust and I can't wait to see what they'll release next, but for now it's cool to go check out their roots.

See that album art there? That hideously off putting, slapdash drawing that looks like it was created by someone who lives in a house full of discarded hypodermic syringes? It might surprise you to know that it's extremely indicative of the music contained within.
Degreaser definitely embody the 1970s, East Village scum fuck aesthetic, choosing to play the most downtrodden, dissolute version of punk in the most sloppiest, effortless way possible. The Brooklyn band feature an Australian ex pat, and do sound a heckuva a lot like some of the least accessible Australian post punk/noise rock acts of yore - especially with the treble-y, delay heavy angular guitar lines, shambling rhythm section and forced out vocal delivery.
Desperation and depression are things you seldom go looking for, but when it's channeled into noisy, nihilistic punk dirges it's always welcome. Please abandon your current tasks, listen to this and prepare to sink down a few levels. It's not that bad here in the gutter.

TRACKLISTING:
1. Teeth in Mouth
2. Like A Ball
3. On the Throne
4. Snake Dick Blues
5. Caveman's Lament
6. Human Postcard
7. Treat You Right
8. These are the Blues

I recently headed down to Sydney/Newcastle to play some shows, and whilst I was down there I had the pleasure of catching Burlap live. I'd initially heard their demo when it dropped earlier this year, and was impressed by it - but for whatever reason I promptly forgot about it and moved onto something else. Cue me catching them live (one of the best sets I caught in Newcastle by a long shot) and remembering that I should totally do up a blog post for them. So here we are.
Burlap is a four piece band from Sydney, Australia featuring members of Jxckxlz, Ted Danson With Wolves and HANNAHBAND (to name a few) who play a much more mellowed out offshoot of noise rock. With no bass, the two guitarists use a multitude of effects to create low end, and it's here where a few drone and shoegaze influences creep in. When they're not in drone mode, Burlap's music takes a slightly more aggressive tone via hoarse screamed vocals and punk flavoured guitar riffs. The two styles work well together, often mingling together throughout the coarse of a song to create a slightly disorienting yet mellow listen.
It'd be an understatement to say I'm excited to hear a full length or EP from these guys - but for now I'm going to content myself with this here demo. You should to. It's good.

That's all Iron Lung Records has to say about this anonymous, unmarked cassette. It came out under the radar last year in an unknown quantity and with no information on the artist released. It has been speculated that this is the unreleased LP of Mentally Challenged, a band featuring members of Mind Eraser and others, but the label has neither confirmed nor denied this claim.

What I can tell you, however, is that this tape is amazing. From the very first ringing of feedback to the last drum hit, this release is a wild ride. There's something in here for everyone: stompy punk, off kilter hardcore, deathrocky dirges, and even strange noise/ambient interludes. The only artists I can really compare it to are primarily other Iron Lung Records bands such as White Wards and Walls, both of which deliver weird and noise drenched hardcore punk.

I ripped this and split the tracks myself, so I cannot actually say for certain that the track listing is 100% accurate, but the tracks were divided at what I saw as logical stopping points in the music. I doubt you'll ever see this surface unless somebody is selling it on discogs or ebay, so I highly recommend checking this out.

First things first, I'm just gonna bring up this photo and get it out of my system, because otherwise I'm gonna be writing while trying not to think about the fact that Boyd Rice owns a tiki bar in Denver, Colorado called "Tiki Boyd's" and won a blue ribbon (as pictured) for his tiki jello mould at the Denver county fair. Alright, now that that's settled I'll also say that I hadn't posted anything classic in a while so I thought I'd throw up NON's "Physical Evidence", an oldie but a goodie. Beginning with snippets of nearby conversation between strangers, Physical Evidence sounds like sitting in the middle of a tornado while on lsd. It's a cranky, mean, and downright horrendous thing to expose yourself to, but that doesn't mean it isn't amazing in it's experimentalism and exploration of rising tension that works itself up through the first five tracks, only to transform into other forms of stylistic experimentation. It's a live recording from their performances at Kelbos in Los Angeles, SO 36 in Berlin, the Film Makers CO-OP in
London, Bains Douches in Paris, Ratinger Hof in Düsseldorf, and the
Whiskey A Go-Go in Hollywood. Physical Evidence is, like I said, an indisputable classic in the realm of noise and power electronics, and if you haven't already enjoyed it before you can grab it below.

KTL's 2 is a lengthy but mystical album, weaving through peaks and valleys of varying harshness/intensity- slowly climbing up mountainous soundscapes and falling into calmness once again. Definitely one of my favourites out of Stephen O'Malley from Sunn O)))'s many side projects; this time pairing him with Austrian noise/ambient musician, Peter Rehberg. If you're into Godspeed You! Black Emperor, then you're definitely going to be into this as well, as I honestly find it better to compare KTL to Godspeed rather than Sunn O))). Each song plays out pretty different stylistically speaking from one to the next, with the first being based around drone-y ambient and the second following the slow rise and fall of distortedly angelic singing. They still manage to work very well together though as an entire album, and sometimes definitely seem like some never before heard Godspeed tracks, but much darker, and heavier. Like I said, KTL's 2 is lengthy, however it's also definitely worth a look.

You’ve probably heard the name Bone Awl or at least seen some of
their artwork floating around the internet. Let’s face it,
their artwork is pretty cool. But their music is just as awesome.

He Who Gnashes Teeth (guitars/vocals) and He Who Crushes Teeth
(drums) are the masterminds behind this raw black metal punk assault.
They started in 2002 and take heavy influence from bands such as
Ildjarn and Rudimentary Peni so you can guess what they sound like.
If you’d like a proper description, their sound is drenched
in fuzz and feedback, underneath which can be found simplistic, dark
riffing and driving, primitive drumming. These guys helped pave the
way for modern raw black metal/punk bands such as Black Boot, Sewer
Drainer, and Garrotte.

Both members have gone on to form new projects. He Who Gnashes Teeth
put out a tape as Galloping Shadow; He Who Crushes Teeth sings for
Raspberry Bulbs. I’m not entirely sure if Bone Awl is officially over, but to my knowledge they’ve been inactive for a couple years at
this point.

So, onto what you’re getting (because that’s what you’re here
for, right?). The link below contains a download for Bone Awl’s
entire studio discography. It does not include instrumental/rehearsal
recordings or compilations of their recordings; these are all the
original releases.

Monday, 6 October 2014

Starting off with a great soundbite from "Ravenous" (which I highly recommend if you've never seen it) Ives' Abandon is an overall pretty good demo. Full of thrashy riffs, black metal-esque power chords, and d-beat inspired drumming, Abandon sounds a bit like a cross between Deathcrush-era Mayhem and Full of Hell on "Rudiments of Mutilation"... and then the xylophone comes in. About halfway through the third track the momentum that it had built up abruptly stops and transitions into an eery combination of minimalistic guitar playing in the background while Burzum-y Hlidskjalf xylophone (I know he didn't actually use a xylophone but it reminds me of the album a bit) tones clang away before transitioning quickly back into a raw chaotic miasma that wraps itself up in the titular final track before fading away, leaving you, well- abandoned.

Tracklisting:
1.
The Taste of Severity
2. Burning the Incense, Amanita Virosa
3. Lost in the Pleasures of Moonlight
4. Abandon

Estonian band EDASI is one of those bands you discover every once in a while when you finally think "I've heard it all by now" and manages to throw off what you thought you knew about music. I say this because Mihkel Kleis, the man behind EDASI, has managed to blacken the shit out of things that I didn't even think you could blacken, and makes new spins to classical blackened aspects of his music. The "Genre/s" section above really doesn't handle everything that EDASI works itself through in the entirety of these two albums; "progressive electronic, drone, electroacoustics, free improvisation, tape music, plunderphonics and found sound" are also used to create weird and wonderful new soundscapes, as said by the band itself. I personally enjoyed EDASI a lot because they didn't seem to be too reminiscent of any one particular movement in music, but still manage to incorporate all of these aspects it's inspired by into something new, just as you think you've heard it all, as I mentioned before. Both albums included here: "Orphaned Demon Follow Your Destiny" and "Imaginary Grotto Hidden Under Mould" are both great listens all the way through, I especially recommend them if you're a fan of 80s-esque electronica, which also appeared as a serious influence on some of the music, in my own opinion.